Hogeschool Rotterdam Willem de Kooning Academie

Past Events

Past Events

BODY EAT WORLD GET TRANSMITTER

lezing_jan_verwoert

 

Time Tuesday 23rd of September, 7 pm
Location Piet Zwart Institute, Karel Doormanhof 45 3012 GC Rotterdam

On the specifics of corporeal mediumship
The gift and curse to channel the history of the clan via the body of the self, and share, with whoemever is within reach, the pain and joy of that which never stops arriving in the guise of new emotional throws and spasms of the imagination: manic depression, hysteria, spiritual mediumship, witchcraft, carnival and obscene language are channels through which the deep knowledge of what, where, when, why and how the hell/fuck was/is happening is being transmitted. A history of power and its patriarchal repression, and an ongoing story of unsettling potentials.

Jan Verwoert is a critic and writer on contemporary art and cultural theory, who has been a core tutor on the fine art program at the Piet Zwart Institute since 2005, He is author of ‘COOKIE!’, a collection of texts edited by Vivian Sky Rehberg and Marnie Slater for the Piet Zwart Institute/Sternberg Press publication collaboration, which follows on his first collection of texts ‘Tell me what you want, what you really really want’, edited by Vanessa Ohlraun.

Jan is also a contributing editor of Frieze magazine and his writing has appeared in different journals, anthologies and monographs. He is the author of ‘Bas Jan Ader: In Search of the Miraculous’, (MIT Press/Afterall Books 2006) and, together with Michael Stevenson, ‘Animal Spirits—Fables in the Parlance of Our Time’ (Christoph Keller Editions, JRP, Zurich 2013).

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MFA GRADUATION SHOW: KAIROS TIME

Graduation_MFA_2014

 

Opening Friday July 11th, 8pm
Exhibition July 12 until August 17
Location TENT, Witte de WIthstraat 50 3012 BR Rotterdam

Featuring: Liz Allan, Maarten Bel, Sabrina Chou, Philip Ewe, Christian Hansen, Ann Maria Healy, Roos Wijma, Hannah James, Graham Kelly, Perri MacKenzie, Machteld Rullens, and Micha Zweifel. 

Curated by Matteo Lucchetti

Kairos Time features twelve international artists based in Rotterdam whose works deploy a multiplicity of poetics and reflect diverse approaches to artistic practice today. The title refers to a possible common ground between the artists and the works, which may or may not be located in the spatio-temporal, social and political contexts from which they have emerged. Along with Kronos, Kairos is an ancient Greek word for time, but while the former refers to chronological, sequential time, the latter alludes to the right or opportune moment when action must be taken, chances seized or conversely lost, inevitably affecting the course of things. Kairos represents a time lapse, an indeterminate moment when anything can happen and opportunities can be grasped, if and when they are perceived at all. Kairos Time is here understood as a space of potential, found in the daily situations or circumstances that an artist must assess and work with or against.

If we view an art practice as a series of seized favorable moments, it is worth asking: how much opportunism does it take to be an artist today? In A Grammar of the Multitude (2004), the Italian philosopher Paolo Virno analyzes post-Fordist conditions of labor and describes opportunists as “those who confront a flow of ever-interchangeable possibilities, making themselves available to the greater number of these, yielding to the nearest one, and then quickly swerving from one to another.” By depriving the term of its negative connotation Virno invents an extremely up to date rhetoric around the contemporary worker, which recalls the traits of openness, flexibility, and the unbiased attitude that are often associated with the figure of the artist.

Ranging from video to installation the works in Kairos time reflect the artist’s specific capacities to transform circumstances into meaningful visual systems, to turn specific material limits and restrictions into open-ended speculative journeys, and suggest that the opportune moment is a condition of the mind rather than a logically determined and immediately graspable point in time.

In collaboration with the Master of Fine Art Program of the Piet Zwart Institute, the post-graduate studies & research institute of the Willem de Kooning Academy.

Events
Screening Thursday July 10, 8pm

The Fertile Nexus is a presentation of video works selected by Graham Kelly in dialogue with his work in the exhibition, Kairos Time, at Tent in Rotterdam. The screening will investigate the mutation of a now fluid moving image, following its migration from a controlled cinema context to its embedment within the external environment. It sets out to question the hybridisation of both the viewer and the image in their newly shared habitat: a transitional state from which one can look into the other and the other back into one.

WORM
Boomgaardsstraat 71
3012 XA Rotterdam
The Netherlands

Weekly
Events in Café Bel by Maarten Bel

Check TENT website: www.tentrotterdam.nl

for more info http://kairostimes.tumblr.com/

For more info check:
http://pzwart.wdka.nl/nl/courses/mfa/
or email fineart@pzi.wdka.nl

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GEOFFREY FARMER: THE GRASS AND THE BANANAGO FOR A WALK

PIET ZWART INSTITUTE – MASTER OF FINE ART PRESENTS

Geoffrey Farmer: The Grass and the Bananago for a walk.

GeoffreyFarmer-2014

 

Date Monday March 3rd, 2014
Time 19.00 hr
Location Piet Zwart Institute, Karel Doormanhof 45 Rotterdam

In MATERIALITIES, a lecture series organized by the artists enrolled in the Master of Fine Art program at the Piet Zwart Institute.

We are delighted to present Geoffrey Farmer’s lecture The Grass and the Bananago for a walk.

From Geoffrey Farmer:

“The banana arrives by boat. It rings like a phone and slips us up if we are not careful. The grass appears everywhere. It materializes the wind, grinds in the mill and enters into the gut of the Ungulates. The banana laughs, the grass coughs. The banana is a poet and the grass is a photographer. For my talk at Piet Zwart, I will meander through the material methodology of my knowledge. From learning to spell as a child by using bread dough, to growing perennial grasses and cutting out 17,000 images from LIFE magazine to make a work.”

Geoffrey Farmer (b. 1967, Vancouver, lives and works in Vancouver). At once fragile and multiform, discreet and omnipresent, Farmer’s work is the product of simple yet strategic manipulations. It operates on the same level as everyday experience: simultaneously rational and chaotic, undeniably concrete yet shaped by the imagination. In a voice that combines poetry and social commentary, his work conjures and reactivates a variety of narratives drawn from history, popular culture, art history and social environments. It also reflects an interest in the exhibition itself – both its fictional power and its temporal component. Farmer focuses on particular features of these diverse sources, notably concepts of the work and process, transformation and performance.

Geoffrey Farmer has a forthcoming retrospective at the Vancouver Art Gallery in 2015 and his major installation Let’s Make the Water Turn Black was shown at the Migros Museum für Gegenwartskunst, Zurich and Nottingham Contemporary in 2013, opened at the Hamburg Kunstverein on March 1, and will travel to the Art Gallery of Ontario, Toronto and the Pérez Art Museum Miami in 2014.

Recent solo exhibitions include The Grass and Banana Go for a Walk, Catriona Jeffries, Vancouver (2014); a new solo project for the fourth installment of Hybrid Naples (with Bettina Allamoda), Fondazione Morra Greco, Naples; A Light in the Moon, Mercer Union, Toronto(2013); The Surgeon and the Photographer, The Curve, Barbican Centre, London (2013); Mondegreen (with Jeremy Millar), Project Arts Centre, Dublin (2011); Casey Kaplan, New York (2011); REDCAT, Los Angeles (2011); Walter Philips Gallery, Banff (2010); Museo Experimental El Eco, Mexico City (2010); Witte de With, Rotterdam (2008). Recent group exhibitions includes The Intellection of Lady Spider House, Art Gallery of Alberta, Edmonton (2013); Triennale der Kleinplastik, Stadt Fellbach (2013); dOCUMENTA (13) (2012); Stage Presence, SFMOMA, San Francisco (2012); Tools for Conviviality, Power Plant, Toronto The Garden of Forking Paths, Migros Museum für Gegenwartskunst, Zurich (2011); Istanbul Biennial (2011). In 2013 Farmer was awarded the Gershon Iskowitz Prize.

Future speakers include: Mark Leckey, and more…

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EVENT: JOSHUA SIMON’S NEOMATERIALISM

PIET ZWART INSTITUTE – MASTER OF FINE ART PRESENTS:

Joshua Simon’s Neomaterialism: The Unreadymade and the Dividual
JoshuaSimons_2014

Time 19.00 hr
Date Wednesday January 22nd, 2014
Location Piet Zwart Institute Master Fine Art
Address Karel Doormanhof 45, Rotterdam

In MATERIALITIES, a lecture series organized by the artists enrolled in the Master of Fine Art program at the Piet Zwart Institute

As an art institute fueled by our research and practice, we have collectively found ourselves considering, on a daily basis, how research is materialized and how, in turn, the material realm drives research. Theoretical, contextual, and material concerns are equally expressed in our work and we have identified a number of materialities that have crystallized out of negotiations between them. These materialities include material as methodology, research material, the material of language, the ruins of material, the material experiential, and theory of the material. The emergence of these multiple threads in our own research and practice has consequently led us to query this seemingly material moment. This series of public conversations opens up a dialogue around the material, investigates such materialities, and explores why materiality matters, now.

We are delighted to launch this series with Joshua Simon’s lecture Neomaterialism: The Unreadymade and the Dividual:

Following up on ideas presented in his book Neomaterialism (Sternberg Press, 2013), Joshua Simon will engage with notions of the commodity, the general intellect, debt, labor, subjectivity, thingness, the dialect of material and dialectical materialism. With labor moving from production to consumption, the meaning of it shifts from alienation to debt, and things, actual things, change. With an overqualified generation subjected

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